Dan Blakeslee and the Calabash Club - Christmasland Jubilee

Christmasland Jubilee

Dan Blakeslee is a fan of holidays. Be it Halloween, when his masked moniker Doctor Gasp annually rides through concert venues; or now Christmas, as the New England native delivers on a long-time dream with Christmasland Jubilee (out December 1), a welcome gift for music lovers this holiday season.

Blakeslee’s love of the Christmas season dates back to when the singer-songwriter was just five years old in Maine, playing sleigh bells on “Christmas Don’t Be Late” alongside his father. From there, he began cutting Christmas tunes in 2006, when he would send songs as gifts for his family. Ever since, Blakelee’s been clamoring to cut a seasonal record and last December, he and his talented band brought that dream to life. 

While you won’t hear any Chipmunks covers on Jubilee, you will hear seven excellent original songs, six standards, and plenty of Blakeslee’s incandescent holiday spirit. Recorded last winter at the Noise Floor Recording Studio in Dover, New Hampshire with snow on the ground, plenty of hot chocolate, and maybe a little magic in the air, Blakeslee and his band turned out an album that feels both contemporary and timeless. 

Blakeslee sounds eggnog-smooth taking artful turns on familiar favorites (“We Three Kings”, “Silver Bells”) and original tunes like “The Somerville Lights” and “It’s Almost Christmas Morn” have a candy cane stickiness with potential to become mainstays on your holiday playlist. All the while, the record is warm, joyous, welcoming - and just the right amount of rollicking. All the things that the holidays should be.

After a year unlike any other, this holiday season promises to be anything but traditional. It may be the perfect time to reminisce about the good times, turn up the volume on Christmasland Jubilee, and find a new holiday favorite.

Words by Brian Hodge

The Sound of America, Then and Now.

All Yours’s debut album takes a critical look at the country today in nostalgic pop-rock anthems.

Time seems to be running out on All Yours’s new, self-titled album.

Maybe it’s because the last few years, and especially recently, the clock seems to be ticking down for humanity. It’s no surprise, then, that songwriter Jason Ford Turner returns to the passage of time over and over again in his lyrics, ruminating on all-things past, present and future. You could say he’s a bit of a Billy Pilgrim, the protagonist of Kurt Vonnegut’s novel Slaughterhouse-Five, as he becomes unstuck in time on topics like religion, death, a misspent youth, gun control and the possibility that he’s aching for a country that may no longer exist. 

Producer Nick Rucker (Plain White Ts) joins Turner to round out the band’s creative dynamic on 10 songs that blend 80’s synth anthems and 1990s post-grunge pop-rock. The album opens with “Eternal Life,” a track that asks what comes next after we’ve shuffled off this mortal coil. For Turner, he believes it continues and asks the listener to open their mind to that possibility, singing:

“I believe in eternal life. Believe in me, all we have is time. Remember my name, hold onto the flame, and you'll believe in eternal life.”

The songs religious tones are a thread Turner pulls across each song on the album both subtly and sometimes not. 

On songs like “Memory Lane,” a song dripping in nostalgia, “Ghost Story” and “Every Second/Every Moment,” the band channels bands like Better Than Ezra, Collective Soul and even Savage Garden. But on tracks like “WALLS” and “No More Guns,” a very direct argument on gun control that borrows an industrial drumbeat that could easily be found on Nine Inch Nails’ “The Downward Spiral,” the band sprinkles in the synth arrangements on Depeche Mode’s “Some Great Reward.”

But the track that stands out the most is “Survive in America,” a rallying cry for the disenfranchised of the modern era. Driving guitars swell like a stormy sea with drums that pound the shoreline of the chorus as Turner exclaims:

“I ain't your countryman. I don't have national pride. I got no country, I'm just doing what I can to get by. Out in our country, they're forcing families to run and hide. They got no country, they're just doing what they can to survive! Survive in America.”

It’s a song that pinpoints a moment in history which feels steeped in chaos, fear and uncertainty. It is one of the albums strongest tracks turning global angst into a fast-paced bombast that declares Turner is more than willing to fight in the present for a past he cherished as he moves toward a future that’s largely unwritten.

But as Turner tackles consciousness and politics in his lyrics, it’s just as important to remember sometimes we all need a bit of playful escapism to take us out of the present moment. All Yours does just that on “Battle Axe,” the album’s closer, which brings in the chugging guitar and high-squealing riffs reminiscent of bands like Dio and Iron Maiden. 

In total, the band’s nostalgic blend of genres and existentialism create a fast-paced and fun record that will take listeners back. It’s clear that Turner is a songwriter with a message and, with Rucker, can turn those words into catchy, earworm-inducing hooks that stay with you. Perhaps even infectious enough to cause real change and give Turner the future he hopes for.

Words by Craig Robert Brown

Nadafest 2019

NadaFest 2019 hit West Seattle last weekend, and unlike almost every other festival it is all about building up artists that don't get their due. With a lineup of great local bands, the Skylark Cafe was pumping from the get go. Drinks were poured, snacks were consumed, and heads were distorted. 

Friday night's highlights included Shitty Person. The group provided slow-paced, feels-inducing, awkward yet beautiful tunes. I couldn’t help but find myself swaying along to the relaxed rhythm and contemplative narratives of Shitty Person’s tracks.

Next up was Golden Idols, one of my favorite acts from the night. Their loud, high energy, melodic music radiated energy, and was the perfect juxtaposition to the preceding act. Everyone in the room couldn’t help but at least nod their heads along.

Friday night ended with a bang. After a large puff of smoke and a series of flashing strobe lights, Downtown took the stage. The room was filled with gritty, loud, synth-heavy tracks. Hard drum beats and over the top macho lyrics kept the audience on their toes until the end of the show.

On Saturday, things really picked up when Forest Ray took the stage. The psychedelic rock group boasted a 6 members on stage, including a flautist (who’s solos were impeccable). The group had an undeniable groove, and had no trouble keeping the room energy high.

Then Seattle trio Garden Chat, another one of my favorite acts of the lineup came in with their noisey, emotional pop-rock filled every corner of the facility with sound. loud baselines, fast beating drums, heavy chords, and delicate lyrics captivated the audience.

Soon after, Temple Canyon took the stage. The groups name perfectly fits their sound--a nostalgic folk rock that was impossible not to love. I was most impressed by the tasteful guitar licks and beautiful storytelling woven into Temple Canyon’s music.

The night wrapped up with Antonioni, whose catchy rock tunes were instant hits among the crowd. There group radiated a certain “cool” factor, as they effortlessly played one great song after another. Antonioni was the perfect cherry on top to wrap up a great NadaFest 2019.

 Words and Photos by Peter Sullivan

Preview: Nadafest 5

You know what we don’t need in the seaside shores of Amazon-encrusted Emeralds? Another music festival. No. No we do not.

More so, we don’t need another music festival featuring some variation of the exact bands that performed at every other music festival this year. We need that like we need more condominiums and high-rise tech bro hang pads. We need that like we need Kids Play zones blocking public streets (looking at you, Ballard yuppie dicks). We need that like we need Jeff Bezos on PCP dancing naked through the streets of Seattle, shouting “Feed me the children”.

We don’t need that, is the point.

So why am I writing this? Why am I writing about a music festival? Didn’t I just say we don’t need that? We don’t need more music festivals. But we DO need outlets for artists that haven’t yet climbed the holy mountain of “Seattle famous” to be featured for the incredible work they do.

Rising like Seattle’s indie undead Lazarus, NadaMucho.com presents the 5^th iteration of Nadafest this Friday, 10/18 and Saturday, 10/19 at Skylark Café in West Seattle. Taking place for the first time outside of Fremont’s Substation and pairing down from three days to two, Nadafest 5 boasts its most congruent, cohesive lineup yet.

All bands selected are current inductees in to NadaMucho’s #41for2019 list or were featured in a past list. This year’s fest is prominently rock-heavy but the acts included make it one for the ages.

Day 1. Friday, October 18^th.

Headliner: Downtown. Fuck. If you haven’t seen Downtown play you are not alive. Genre-wise it’s a well-done electro-punk extravaganza. But the true power of Downtown is their unflinching deadpan parody of male aggression and stupidity. It’s not for the faint of heart but if you can hang, it’s well worth it.

Day 1 is the decidedly louder night of Nadafest. Indie rock wordsmiths Golden Idols write some of the wittiest, most hilarious lyrics of in the city as they lay down their incredibly smart songs. Shitty Person brings their haunting, terrifying drone psych to bear (as well as incredible song titles like “Butthole”). Double or Muffin are an excellent blend of noisy pop and garage simplicity, huge Television vibes (said with love). Levi Fuller and The Library bring uncompromised political fire and a metric shit ton of intensity. And kicking off the night will be Seattle institution and bedroom pop extraordinaire (and Nadafest co-founder) TBASA.

Day 2. Saturday, October 19^th.

Headliner: Antonioni. Fuck. Antonioni has been steadily climbing the aforementioned “Seattle Famous” holy mountain for some time now. And there’s been damn good reasons for that. Their passion and intensity live is something to behold. They've strung together two fantastic EP's of alterna-pop infectiousness and there's no reason to think they're going to slow down any time soon.

Day 2 features more female-fronted bands and a hell of a lot of good rock, though of a more contemplative variety. Temple Canyon, fresh of their incredible release "Fortress" just a few months ago, will be featured. Gospel punk rockers Garden Chat have been one of the sleeper bands for me in 2019. Heavy, holy (sounding) and uncompomising, look for them to light up the night. Few do pitch perfect 60's garage psych as well as Fever Ray. Ethereal witch rockers Hel Mary will be on hand with a configuration and set list specifically for Nadafest. Debbie Miller and her ornate, inensely personal songs will enchant the audience. The night will be kicked off by Guthrie-esque political folk artist Aaron Semer.  

Day 1 - More Info | Day 2 - More Info - Music starts each night at 7pm. $10 at the door.

The Verdict

Though I'll miss the alternating 2-stage setup of years past, this is by far the most cohesive lineup Nadafest has ever featured. Top to bottom, this is an impressive lineup of rock bands and solo artists diverse enough to avoid overkill and surpirse those who haven't heard them before. We may not need more music festivals but Nadafest has managed to keep things fresh each year with a focus on rising stars in the community.

Words by Patrick Galactic

Pickathon 2019 - Finding Solace

We have held off on discussing this year’s Pickathon for a couple of reasons; 1. we didn’t know how to mentally process the tragedy that took place and 2. we didn’t know the appropriate way to approach the conflicted feelings after a music festival and the sorrow that came from it. For those who do not know, after Pickathon two arborists (Brad Swet and Brandon Blackmore) assigned to disassemble the most iconic art installation at the festival heartbreakingly fell to their death due to an equipment malfunction.

This was our first year attending Pickathon and it exceeded it’s reputation for a community oriented and family friendly environment. I feel that it is important to point out that this festival is a tight knit community that utilizes the skills of passionate people who have a mutual love for the the festival. Pickathon is not your run of the mill festivals. It gives you hope that there are still people out there doing something for the love of music and humanity.

When you arrive at the festival grounds you have this Field of Dreams moment where something magical was built in the middle of nowhere and people just gravitate to it. It makes you wonder how this Utopia in the middle of a forest can logistically make sense. It took me a while to figure out the lay of the land but in essence you are just walking through the woods (or farm) with other people who either know where they are going or are just content in being where they are. I have heard so many things about this magical and almost mythical festival but I had a hard time picturing it until I saw it with my own eyes.

What do you mean you need to bring your own beer cup? You trade a wooden token for a wooden fork/spoon and reusable bowl that you then return for a wooden token and repeat for each meal? But it completely works! Someone came up with an idea to offer affordable, delicious food at a festival and not produce waste and they just made it happen… what a novel idea!

While walking from stage to stage you quickly realize that this is more than just a music festival. This is a place where families can go and feel safe to be themselves and essentially do what they want to do. Since Pickathon’s genesis I’ve heard about it’s family friendly nature and I decided to bring my wife and 1 year old son along for a day. It didn’t disappoint! there were kids everywhere!  I saw “free range kids” selling customized drawings of your spirit animal for a dollar, other kids selling other forms of art, and even selling fruit! There were craft stations in the same tent where kids could also go up on stage and perform!

It’s the type of festival that allows you to fall asleep in a hammock while Lucius or Nathaniel Rateliff are playing in very close proximity and you quickly wake up and wonder why are you trying to sleep during Nathaniel Rateliff!?! It is also the first festival I have ever seen where you look into the woods and there are tents and hammocks filling the gaps in the forrest.

The fact that this festival caters to families is nice and all but the music is it’s true bread and butter! Every stage is offering it’s own intimate experience.  Unlike many other festivals, you are not fighting to see the artists… I am not sure if it is the number of festival goers allowed on the grounds or just that people are more courteous. But none of the stages seemed to be overly packed. Which allows for a generally more pleasant experience. I felt as if I was less worried about dealing with the crowd and more able to take in the music and the nature that surrounded me.

The loss of Brad and Brandon will be a dark cloud for this festival for years to come but hopefully Pickathon will be able to find solace through it's strong sense of family and community to honor rather than mourn.

Please show your support by donating to the Brad Swet and Brandon Blackmore memorial fund

Newport Folk Festival 2019

In the world of music festivals, Newport Folk towers. Now in its 60th year, it has the longevity, history, and allure that other festivals can only dream of. But despite, or in part because, of its grandeur, you would be hard-pressed to find a more overwhelmingly inclusive event. It uses its towering tent poles to welcome more people into the fold. And it uses its wide reach to span generations, bring people together, and embrace them. We don’t have to go out searching for an illusory “Rainbow Connection,” we have a real one right here. The lovers, the dreamers, and anyone who wants to join. Kermit included.

This year was similar to the last nine I’ve attended in that it was both better than expected and better than previous years. Producer Jay Sweet continues to program a heady mix of old and new which fosters fun connections, and his capitulation of main stage sets to Brandi Carlile and Chris Funk for collaborations led to showcases that were simply sublime.

Carlile’s crew of The Highwomen stole the show on Friday. The troupe of Carlile, Maren Morris, Amanda Shires, and Natalie Hemby tore into songs from their forthcoming album, and the group can certainly expect a “Crowded Table” at their next performance. Some songs like “Redesigning Women” and “If She Ever Leaves Me” are destined to be stamped in country music canon.

By now you’ve likely heard about Saturday’s surprise guest, Ms. Dolly Parton, who checked off slews of bucket lists before even belting out a note. “Me and Rhode Island have a lot in common,” she opined. “We’re both little, but we make a lot of noise.” After “9 to 5” there wasn’t a person in the crowd not having fun, marking a perfect Saturday night closer and a historic one at that. ♀♀♀♀: The Collaboration was the first all-female act to headline Newport.

Sunday’s closing “If I Had A Song” collaboration spawned such gorgeous moments, it’s hard to pinpoint the highlights. There was Kermit the Frog (!) and Jim James singing “Rainbow Connection.” Trey Anastasio and Lake Street Dive’s Rachel Price singing “God Only Knows” backed by the Berklee Instant Strings. Eric Johnson, Robin Pecknold, and James Mercer singing “Suite: Judy Blue Eyes” with Judy Collins!

But the tenderest moments came on the smaller scale. The festival distributed lyrical songbooks to the crowd before the last set, featuring not only song lyrics to the performance, but lovely photos of Pete Seeger as well. It served as a tactile connection from the past to the present, and ultimately the future. It felt tender, and sweet, and hopeful. In other words, it felt exactly like Newport. 

Other highlights:

• DOLLY PARTON

• The Highwoman - Complete set

• Yola - Complete set

• Hozier (with Mavis Staples) - “Power” 

• Cooks in the Kitchen (with Tallest Man on Earth) - “Rock of Ages”’

• Kevin Morby, Complete set

• Phil Cook - “Ain’t It Sweet”

• Sheryl Crow - “If It Makes You Happy”

• Stephen Marley,  “Three Little Birds”

• Courtney Marie Andrews (with Brandi Carlile) - “May Your Kindness Remain”

• Trey Anastasio - “Sample in a Jar”

• Song for Beginners - “Better Days”

• Jade Bird - “Uh Huh” 

• Nilufer Yanya, Complete set

• Adia Victoria set at Newport Blues Cafe

• Billy Strings and Molly Tuttle

• Caamp surprise pop-up set

Photos and Words by Brian Hodge 

Additional photos by Bethany Hodge

Capitol Hill Block Party 2019

It’s official, Capitol Hill Block Party 2019 is one for the books. The music festival boasted an impressive lineup this year (Lizzo!) and was chock full of incredible moments and performances. Here’s what went down:

Friday:

Showing up to the festival in the afternoon, one couldn’t help but be drawn to JPEGMAFIA’s Main Stage riot. The indie New York rapper provided the perfect balance between carefully placed rhymes and mosh-inducing screams, all over lo-fi beats served from his iphone plugged into the aux cord.

Up next came indie-rock vocalist Mitski, who’s choreographed performance included acrobatic moves and table flipping, all in sync with her undeniably danceable songs. Throughout the performance, Mitski’s movements and facial expressions accentuated the stories of her breakup-themed songs, creating a work of art that felt like one-woman musical theater.

Saturday:

New York multi-instrumentalist Vagabon was my favorite act from Saturday afternoon. Vagabon’s haunting vocals paired perfectly with her emotional guitar riffs, as her backup band provided the base rhythm for the crowd to sway to.

When Still Woozy took the stage on Saturday evening, the air was electrifying. The groovy Oakland pop artist and his band brought a vibrant energy to the stage. From bass-breakdown dance offs to spontaneous stage dives, Still Woozy had the crowd on their toes for the duration of his set. When he performed his hit song “Goodie Bag,” it was impossible to not sing along.

Saturday night was an absolute throwdown, to say the least. The undeniable festival headliner Lizzo managed to turn East Pike Street into a giant game of sardines. Lizzo danced, twerked, and fluted, all while seemingly half of Seattle belted her chart topping hits along with her.

For those not fortunate enough to score a good view of Lizzo dominating the Main Stage, another of my favorite performances took place on the Vera Stage: A Tribe Called Red, a pair of Indiginous Canadian DJ’s who combine dubstep and First Nations music. “We are not a conquered people,” blasted through the speakers before dropping into one of the greatest mixes of tribal cries and bass wobbles you’ll ever hear.

Sunday

After an afternoon schedule shift, Seattle singer/writer Umi made it on to the Main Stage, and she gave us every reason to believe that’s where she belongs. Umi had complete control of the crowd while her sweet vocals floated over her backup band’s groovy breakdowns. In between songs, she repeatedly preached love and positivity. Umi’s energy and catchy songs made her impossible to walk away from. There’s no reason why we can’t believe she’ll be the next SZA.

Dressed in all black, Vancouver post-punk band ACTORS brought goth to the summer on the Vera Stage. Their sound is rhythmic, dark, yet pleasantly uplifting. The group looked good, sounded good, and all around rocked the stage. ACTORS became an instant favorite among the crowd.

 

A last minute Main Stage booking of Portland indie rock heroes STRFKR proved to be a great success. As soon as the first song began, out came a crew of flamboyant backup dancers, including an astronaut, a man in a dinosaur suit, and Gandalf himself. Playing hit after hit, STRFKR felt like kings of a dance party. STRFKR’s evening set perfectly captured the easy going, weird, and party vibe of Capitol Hill Block Party, especially when Gandalf embarked seemingly on one of the furthest crowd surfs of all time.

While DJ RL Grime thumped away at the Main Stage, California indie-pop prince Cuco treated the crowd at the Vera Stage to a delightful and youthful performance. Cuco served sweet guitar licks, reverb-heavy keys, and a mix of mellow English and Spanish vocals. Cuco’s performance was a soothing juxtaposition to the chaos that occurred the night before, and his songs proved to be the perfect lullabies to end the 3 day music festival.

Words and Photos by Peter Sullivan

Pickathon 2019 Preview

We all remember our “firsts”. You only get one! First love, first time you heard a particular song, first time driving a car, first time living on your own... Most things become repetitive or ritualistic but the first time will always stay with you.

This will be my first time going to Pickathon. For various reasons I haven’t made it in the past but this year is the year! I don’t know exactly what to expect or where to go when I get there… and I’m not going to lie… I am kind of nervous.
Not only is it my first time but I am a parent now so I am bringing the family along! One major attribute that I frequently hear about Pickathon is it’s family friendly nature. My goal is to see what that means as a person with a toddler trying to balance the festival experience with having a kid along for the ride.

It may sound like I am over dramatizing a music festival but these are the places where you hear a band for the first time and make memories with your friends and family. I think it's important to stop and take it in. You will never get it back.

Stay tuned! If you dont have your tickets yet it's not too late. Get them here!

Chase Atlantic - Neptune Theatre - Seattle, WA

From Sia to Silverchair, Kylie Minogue to Natalie Imbruglia, Australia has continued to produce artists and bands over the years who have raced into the mainstream in almost every genre there is. If the sold-out  Seattle stop on their global tour is any indication, it's likely just a matter of time until Chase Atlantic, one of Australia's newest musical exports, continues that tradition.

Readers of Visible Voice may recall the spotlight on the uber-talented Canadian artist LIGHTS earlier last year. Well, LIGHTS thought highly enough of Chase Atlantic to invite them on her global tour, which is pretty much the highest form of vouching there is in the music industry. Just as Muse is a three piece band that sounds much, much larger, the same can be said for Chase Atlantic's three member formation: somehow, they produce a sound that one would swear must have come from a band with a minimum of six members. 

Chase Atlantic's blend of catchy choruses with bass heavy alternative R&B over live drums - think Tame Impala mixed with The Weeknd - is a sure-fire recipe for success on the airwaves, Spotify, and the Billboard charts. For you Lyft and Uber drivers out there, prepare yourself to pass the aux chord to many passengers in the near future and be introduced to Chase Atlantic. 

Catch them on tour in support of their new album, Phases, here: https://chaseatlantic.com/ 

Photos / / Words by Alexander Hallett of Sattva Photo